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Grateful Dead Live at Winterland Arena on 1974-10-17

Set 1

The Promised Land
Mississippi Half-Step Uptown Toodeloo
Black Throated Wind
Friend Of The Devil
Jack Straw
El Paso
China Cat Sunflower ->
I Know You Rider
Me And My Uncle
It Must Have Been The Roses
Weather Report Suite Prelude ->
Weather Report Suite Part ->
Let It Grow

Set 2


Set 3

Scarlet Begonias
Big River
Ramble On Rose
Mexicali Blues
He's Gone ->
The Other One ->
Spanish Jam ->
Mind Left Body Jam ->
The Other One ->
Stella Blue
Sugar Magnolia (MISSING)

Casey Jones (MISSING)
U.S. Blues (MISSING)

Collection GratefulDead
Band/Artist Grateful Dead
Venue Winterland Arena
Location San Francisco, CA

Source SBD > 16track> 2track for Jerry >? >
Lineage Black Maxell UDII reel tape @ 3 3/4 ips.>Akai GX 636>Apogee Mini Me(24/96)>Apogee mini DAC(monitoring/mastering)>Lynx One soundcard>Wavelab 5.0>DVD, DVD-Audio 2496>DVD-A Explorer>Wavelab 6.1>GEMS Edit Station Weiss Saracon for POWr3 Dither 24bit/96 kHz, TradersLilHelper for FLAC 8
Transferred by Matt Smith and Jamie Waddell


Edit notes: These reels have been mastered for better tonal balance. Phil's bass was the center point of this multi track mix down. It was a tad too much to begin. A different feel than the standard vault reel master reel. The highs originally were VERY buried and or decayed and i returned them to a better position in the mix, albeit still a tad distant. This edit was in the works for a couple of months. Lots of our ears LListened as we came to the best balance for the edit. I'm sure you will enjoy.- j.w.

Matt said... "I think people will love the 10-17-74. I would put the lineage as 16track>2track for Jerry>?>R(WB@3 3/4 ips.)>DVD/CD. These 10/74 reel copies made by Will back in 1979 were most likely 'work tapes' used by Jerry for production work for the "GD Movie". all the following shows are complete including all the 'seastones' sets so more cool things on the way. Yes, i know there have been multiple versions of these shows but IMHO, these are unique versions that were Jerry's own copies that were dubbed from by Will. Basically these versions were never copied by anyone in will's circle since everyone already had them via rob bertrando and no one at the time bothered to investigate them. Remember, this was 1979 and the GD were still a great behemoth of a touring machine so everyone was more concerned with taping new shows. There is no cassette gen with these as they were straight reel copies that i know for sure so these 24 bit versions esp. are really nice. Whether Jerry had a master of a 2 track mixdown or a copy will never be known for sure but these really do sound fantastic regardless. Much more of a "being there" feeling IMHO.. ENJOY!! ....Stuff from the debbie stash is hard to explain at times and nailing down exact lineages is even harder. either way they all sound fantastic!!! It was the kind of deal where Will suddenly found out about all these reels/cassettes that Jerry "left" there so he copied as much as he could w/o any concern of the exact source. There were TONS of stuff everywhere strewn all over the house.."

a **GEMS** Production May 2009

-Complete Seastones
-listen for a fan scream for mexicali before they play a note of it
-Last two minutes of rider patched with alternate aud
-Huge Thanks to Matt Smith for the Transfer work and Deadication.
-big Thanks To Todd Evans for Project GEMS...


Reviewer: c-freedom - - January 4, 2014
Subject: To rise and fall
The whole first set is a good listen.
Jerry and Bob trading off tunes to good results.
Interesting jam towards end of the 'China Cat'
Donna sweet on 'The Roses'
Phil is up for the 'Let it Grow' and the jam is hot.
'Sea stones' is a total contrast from the 1st set.
(Not sure what else to say, very trippy)
'Scarlet' brings psychic relief to open 2nd set and Big River carries us along.
Keith is right on for 'Ramble on Rose' and Jerry has the vocals well in hand.
Outlaw Cowboy's choose the 'Mexicali Blues'
'He's gone' brings us to the most extensive jams of the evening and it is all hot right thru to 'Stella Blue'. (Great job on 'the Other one' vocals by Bobby!)
Reviewer: doug_the_dude - - October 15, 2012
Subject: --
Well, it's nice to see there are a few boards on here for this date that haven't been pulled.

Rating these Winterland shows is difficult, as there is so much beautiful, experimental, exploratory music to be had it just seems pointless. But I'll list some highlights I've heard from this night:

*Seastones - listen to the crying babies and audience members freaking out...really, hearing it subtly but significantly in the background on this recording actually enhances the mood of that brokedown palace...
*Ramble on Rose is absolutely perfect.
*The Other One suite led in from He's Gone: lots of jazz here; they move and glide right along for a while until the jam is shattered and totally deconstructed - they take the remainder of the jam to try and put it back together. It never does until the first verse, but what an exercise! Remember, take a 'step back' mentally and see the forest for the trees on jams like this.
*Stella is a lovely conclusion.
Reviewer: Evan S. Hunt - - October 18, 2010
Subject: I Was The One
I was the one who yelled out "Mexicali" just before them going into the song. This was just me being a wise ass. You see, on this particular night I was within 20 feet of the stage and positioned in front of Bobby. While they were tuning Bobby quietly sounded out the main chord of the song and I guessed correctly that they were going to play Mexicali Blues. I got lucky.

Frankly, Mexicali Blues is not a song I would muster the lung power to suggest the playing of such audibly. Y'know? In fact, I always thought that screaming out song requests was a lame gesture ~ totally uncool. SAINT STEPHENS !

Truthfully, I was so knocked out with this band that I didn't care what they played. And, by 1974, because they had custom made guitars, the band was fairly adept at keeping their instruments in tune. Perhaps I should explain.

Back in the old days when Jerry was using store bought Gibsons and before the days of handheld guitar tuners he would have to tune his guitar between songs and it would always seem like an excruciating eternity waiting for him to tune up. You'd be standing there all ready to launch into your next whirl around the floor and there was Jerry ping-ping-pinging around looking for the note. We were all champing at the bit to hear another song as quickly as they could crank it out and here's Jerry patiently tuning that sucker. Waiting for Jerry to tune was harder to take than a wet-moustached grandmother because he was such a fanatic about tuning his guitar! But I guess it was all worth it. And I suppose it was worth a wet kiss from granny when afterwards she shoved a 20 into your unsuspecting palm.

Now to review this show. This was a great great show. The Wall of Sound was magnificent and the crowd was enthusiastic though jittery. The night before the audience was initially thin, but on this night, they were there earlier. It was a very hot night in San Francisco and when I drove over the Bay Bridge at 5:30 it was still close to 100 degrees. If you have ever been in San Fran when it was hot...well, you can understand the crowd's jitters. I have traveled all over the globe and I have never found a hotter place than San Francisco when, on rare occasion, it gets hot. And it was HOT, man, and still. There was no breath of air to speak of and people were chafing with heat rash. In 1974 there was little air conditioning in S.F. Why should S.F. need air conditioning? This place is called "the air-conditioned city." Anyway, I digress...

Going alone I had no trouble walking right up front and camping out. The band began on time.

The first set was spectacularly performed. However, right from the get-go one could perceive that there were some sound issues on stage. You could hear some sort of annoying chirping coming out of it at the most inopportune times. The kwipment krew was feverishly climbing all over the massive P.A. system trying to find the outness. They never did find it that night and the chirping sound lingered. After over 35 years of asking various people in GDP and others what the problem was I have finally deduced that one of Bobby's guitar mikes fell down behind the bass drum and was not located until halfway through the next night.

The WRS is immaculate. Jerry gracing it with his proboscis gnat notes of divine portability. It's merely a tuning up for the fireworks of the ensuing festivities. You'll hear him come back into the same gusting theme in the Other One>Spanish Jam> Mind Left Body>Other One jam of the vaulted second set.

Before I get into further details about the songs, another thing I'd like to explain is the Seastones set. My perception is that most people did not enjoy the Seastones segment of the performance. If you were there on this night Phil hit some bombs that were so low they were inaudible to the human ear, but not inaudible to the human bowel. The minute Phil hit that first lower than low note half the crowd made a dash for the exits. It is my understanding that the toilets were backed up for the remainder of the evening. I was 25 years old in 1974 and could hold my water all night so fortunately I never had to venture into the restrooms to envision the aftermath, but I could tell you stories.

Personally, I have always loved Grateful Dead feedback segments. Their feedback has been oft copied, but never duplicated. It could be considered the most original recorded music in American recording history. You could not deny that this is truly original music, recorded off the cuff as off the cuff it was performed. Truly a remarkable answer to the bathroom break.

Much of the sound on these recordings derived from the 16 track were deemed unusable. For some inexplicable reason, the recordists failed to notice a clipping level on one track that placed the needle in the red for much of this night's show. So disruptive it was that because of bleedthru the tracks were junked. Jerry would have immediately eschewed all of the cuts on this recording and decided not to use the bulk of them even though this was the night that they really struck gold ensembly. It must have been a hard wad to swallow when Jerry heard these tapes and had to say no. It is today thru the magic of digital remastering and analog re-creation that these sounds can be herewith accurately presented. Praise be to God for the insight to humbly manage these affairs. It is a supreme labor of love.

Jerry, Bobby, Keith, Billy and Phil are just flat-out relentlessly pounding throughout all the rest of this concert. Actually, in spite of the sound probs on stage, the ensemble of this mix shines through. You will easily discern every instrument and every voice. The chirping? Well, the chirping be damned. Ignore it.

Early Scarlet Begonias ~ perfectly rendered save for a few sour notes leading into the third verse.

In general, the sound that night in Winterland from my vantage point was just totally all-encompassing to all thought reasoning or logic. And, re-listening to this recording tonite makes me especially appreciative. This sound is an accurate re-capturing of the sound extant. It is a masterpiece of endless re-incapsulating of disproportion and thereby righting itself anon.

What ensues out of a dripping He's Gone is an utterly crazy whacked out nerve wracking Jam>Other One>Spanish>Mind Left Jam.which radically changes our DNA. This transfusion leads into the resplendent Stella Blue.

Factually, every thing after Stella is an afterthought, an after dinner mint, an aperitif.

Have to mention that also that upon this night 25 years later San Francisco was decimated by the Loma Prieta earthquake. We do herenow pause and reflect and take this moment to remember the dead who perished and to applause those who stood tall.
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Source: NAK-100s > Sony D-5, using Dolby B > Maxell MX- 90s
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Source: Set 1 Source: Schoeps CMC4/MK4 > Oade P/S > Panasonic SV250 (48 khz); Location: FOB;
Grateful Dead
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Source: Source: Sony WMD6-C Cassette Master>Nakamichi 300 Mics W/CP4 Shotguns>Sony TC-D5M Cassette Deck(Playback)> Edirol R-09 HR(24/44.1 KHZ)>Cd Wav Editor>Traders Little Helper>Flac Level 8. Sector Boundaries Aligned Using Traders Little Helper.taped By Dave Boedicker,Taper Section,Section 122,Row A,Seat 8
Grateful Dead
by Grateful Dead
Source: Master Audience Recorded By Mr. Baker, Transfer By Keo; Nakamichi CM300/CP4 Shotguns > Sony D6, Tapes: Maxell XLII-S 90, 100; Transfer With Nakamichi MR-1 > Korg MR-1000 @ 1 Bit/5.6 MHz; Tracking/Sample Rate Conversion With AudioGate Software To 32/96 kHz Wave; Dithered/Flacked With Korg Aqua To 16/44; SBE's Checked/Fixed With Trader's Little Helper; Metadata Tagging With Tag&Rename
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( 1 reviews )
Source: Sennheiser MD-421's > patched thru one Sony D5 > Sony TC-D5M > Maxell MX-90's, with no Dolby. Mics on six-foot stand in OTS
Grateful Dead
by Grateful Dead
Source: Set 2 Only Source: (handheld/ORTF/110^/DFC/FOB) B&K 4011s > Neumann BS48i-2 > SV-255 > DAT(m);
Grateful Dead
by Grateful Dead
Source: Master Audience Recorded By Mr. Darby; AKGC451EB/CK1's (DIN/DFC/Middle Of OTS/6 Feet High)> Whirlwind Phantoms>Sony TC-D5M,Tapes TDK MA-X Set 1,Sony Metal E-s Set 2
Grateful Dead
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Source: nak 300 mics w/ cp4 shotguns > sony d-5 D
Grateful Dead
by Grateful Dead
Source: Master Audience Recorded By Mr. Darby; AKGC451EB/CK1's (DIN/Loge Section 202 Row H Seat 23/6 Feet High)> Whirlwind Phantoms>Teac DA-P20>Sony TC-D5M,Tapes Maxell MX-S; Transfer Information:Tascam 112 MKII (XLR Out)>Tascam HD-P2 @ 24/48> HDD>Amadeus Pro (Tracking/Fades/FLAC8); Tracks Renamed/Metadata Tagging With Tag&Rename By Keo
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Source: Recording by Jim Wise & Eddie Claridge; Master Audience Cassette; Sony ecm 280's > Sony D-5 FOB; Transfer and FLAC encoding by David Minches: 1-10-14; Master played back on Nakamichi Dragon > Korg MR-1000(DSF [1-bit 5.6448 MHz Stereo]) Korg AudioGate > WAV [24/96] > Adobe Audition 3.0> FLAC encoding